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Tina Askanius - Cardiff University

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genres and products. They hardly<br />

represent a self-contained or stable<br />

genre. Instead, they migrate, mutate,<br />

replicate in a constant shuttle between<br />

fictional and factual genres in a ‘cross<br />

pollination of styles’ (Hill 2007).<br />

Figure 3. Framing the news anchor as<br />

croupier in the absurd theatre of casino<br />

capitalism.<br />

Another example of the critical and<br />

playful remixing of content characteristic<br />

of the political mash-up video is seen in<br />

the Indymedia production ‘Pro Capitalists<br />

gather for G20 in London April 1st’. In<br />

this video, scraps of CNN, BBC, RT and<br />

FOX news reports on the global financial<br />

crisis are ‘jammed’ so as to ridicule and<br />

subvert the statements of politicians,<br />

bankers and news anchors.<br />

Mixing these ‘disrupted’ news reports<br />

with amateur recordings from anticapitalist<br />

protests in London and footage<br />

from a Casino, this hodgepodge of reedited<br />

content frames the global<br />

financial crisis as a product of ‘casino<br />

capitalism’, the corruption of political<br />

and economic world leaders, and the<br />

inability/reluctance of mainstream<br />

media to critically probe and expose<br />

these matters to the public (see<br />

appendix 15).<br />

A particularly good example of videos<br />

that work between performative and<br />

realist strategies to attract the attention<br />

of the viewer are mash-up videos, which<br />

combine the features of the personal<br />

vlogs with what we may loosely refer to<br />

as the alternative news report. In<br />

collapsing these two genres, such videos<br />

for instance combine close-ups of ‘the<br />

talking head’ typical of the video diary,<br />

with eyewitness accounts or fragments<br />

of mainstream media news material, to<br />

create a new and personalised narrative<br />

of the protest event. Some of these more<br />

individualised modes of political<br />

expression intrinsic to the video diary<br />

tend to deflate into a politics of<br />

narcissism in videos that seem to be is<br />

more about boosting channel traffic and<br />

achieving celebrity vlogger status than<br />

about constructing a political argument<br />

or engaging in political a debate.<br />

The collapse of genres and styles<br />

Second, the concept of mash-up also<br />

bears meaning to the process of mixing<br />

genres and stylistic forms. Political<br />

mash-up videos draw upon a wide range<br />

of different discourses, styles, and<br />

narrative structures of different media<br />

www.cf.ac.uk/JOMECjournal<br />

Figure 4. Crossover between the intimate<br />

video diary and the alternative news report.<br />

We see these tensions being played out<br />

in the video ‘Goodbye Alex’ in which a<br />

vlogger pays tribute to the Greek<br />

teenager, Alexandros Grigoropoulos,<br />

killed by police in Athens in 2008 (see<br />

appendix 16). On YouTube his death<br />

spawned a surge of alterative news<br />

11 <br />

@JOMECjournal

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